Welcome to Part 2 of ‘HDR & WCG For Broadcast’ - a major 10 article exploration of the science and practical applications of all aspects of High Dynamic Range and Wide Color Gamut for broadcast production.
Part 2 discusses expanding display capabilities and camera technology, alongside the creative benefits and production challenges HDR & WCG bring.
Why doesn’t everything “just work together”? And how much better would it be if it did? This is an in-depth look at the issues around why production and broadcast systems typically don’t work together and how we can change that. If we do, there are untold benefits.
Win Sports, Colombia’s leading sports broadcaster, has successfully deployed Appear’s X Platform for the primary distribution of its Win Sports and Win+ channels in HEVC and AVC to broadcast platforms across the country.
This 11 part series by John Watkinson looks at the scientific theory of microphone design and use, to create a technical reference resource for professional broadcast audio engineers. It begins with the basic principles of what a microphone is and does.
Our series continues with the ST 2110-3x standards which deploy AES3 and AES67 digital audio in an IP networked studio. Many other AES standards are important as the foundations on which AES3 and AES67 are constructed.
“The Great Moose Migration” demonstrates Ateliere Live’s efficient and eco-friendly remote production workflow leveraging advanced NVIDIA GPU technology; streamlines overhead for 50% or more cost reductions.
Limitless Broadcast, the leading provider of remote and cloud content solutions and production services have unveiled their newly expanded Remote Production Hub (RPH) in Woking, England.
We continue our series considering technologies of the near future and how they might transform how we think about broadcast, with a discussion of the critical topic of training AI models and how this is potentially compromised from the outset by innate confirmation bias.
